A Companion to Shakespeare and Performance

List of Illustrations. Notes on Contributors. Acknowledgments. Introduction: A Kind of History: Barbara Hodgdon (University of Michigan, Ann Arbor). Part I: Overviews: Terms of Performance. 1. Reconstructing Love: King Lear and Theatre Architecture: Peggy Phelan(Stanford University). 2. Shakespeare's Two Bodies: Peter Holland (University of Notre Dame). 3. Ragging Twelfth Night 1602, 1996, 2002-3: Bruce R. Smith (University of Southern California). 4. On Location: Robert Shaughnessy (University of Kent). 5. Where is Hamlet? Text, Performance, and Adaptation: Margaret Jane Kidnie (University of Western Ontario). 6. Shakespeare and the Possibilities of Postcolonial Performance: Ania Loomba (University of Pennsylvania). Part II: Materialities: Writing and Performance. 7. The Imaginary Text, or, The Curse of the Folio: Anthony B. Dawson (University of British Columbia). 8. Shakespeare Screen/Play: Laurie E. Osborne (Colby College). 9. What does the Cued Part Cue? Parts and Cues in Romeo and Juliet: Simon Palfrey (University of Liverpool) and Tiffany Stern (author). 10. Editors in Love? Performing Desire in Romeo and Juliet: Wendy Wall (Northwestern University). 11. Prefixing the Author: Print, Plays, and Performance: W. B. Worthen (Barnard College, Columbia University). Part III: Histories. 12. Shakespeare the Victorian: Richard Schoch (University of London). 13. Shakespeare Goes Slumming: Harlem '37 and Birmingham '97: Kathleen McLuskie (Shakespeare Institute, Stratford upon Avon). 14. Stanislavski, Othello, and the Motives of Eloquence: John Gillies (University of Essex). 15. Shakespeare, Henry VI, and the Festival of Britain: Stuart Hampton-Reeves (University of Central Lancashire). 16. Encoding/Decoding Shakespeare: Richard III at the 2002 Stratford Festival: Ric Knowles (University of Guelph). 17. Performance as Deflection: Miriam Gilbert (University of Iowa). 18. Maverick Shakespeare: Carol Chillington Rutter (University of Warwick). 19. Inheriting the Globe: The Reception of Shakespearian Space and Audience in Contemporary Reviewing: Paul Prescott (University of Warwick). 20. Performing History: Henry IV, Money, and the Fashion of the Times: Diana E. Henderson (MIT). Part IV: Performance Technologies, Cultural Technologies. 21. "Are We Being Theatrical Yet?": Actors, Editors, and the Possibilities of Dialogue: Michael Cordner (University of York). 22. Shakespeare on the Record: Douglas Lanier (University of New Hampshire). 23. Sshockspeare: (Nazi) Shakespeare Goes Heil-lywood: Richard Burt (University of Florida). 24. Game Space/Tragic Space: Julie Taymor's Titus: Peter S. Donaldson (MIT). 25. Shakespeare Stiles Style: Shakespeare, Julia Stiles, and American Girl Culture: Elizabeth A. Deitchman (University of California). 26. Shakespeare on Vacation: Susan Bennett (University of Calgary). Part V: Identities of Performance. 27. Visions of Color: Spectacle, Spectators, and the Performance of Race: Margo Hendricks (University of California, Santa Cruz). 28. Shakespeare and the Fiction of the Intercultural: Yong Li Lan. 29. Guying the Guys and Girling The Shrew: (Post)Feminist Fun at Shakespeare's Globe: G. B. Shand (York University, Canada). 30. Queering the Audience: All-Male Casts in Recent Shakespeare Productions: James C. Bulman (Allegheny College). 31. A Thousand Shakespeares: From Cinematic Saga to Feminist Geography; or, The Escape from Iceland: Courtney Lehmann (University of the Pacific). 32. Conflicting Fields of Vision: Performing Self and Other in Two Intercultural Shakespeare Productions: Joanne Tompkins (University of Queensland). Part VI: Performing Pedagogies. 33. Teaching through Performance: James N. Loehlin (University of Texas, Austin). 34. "The eye of man hath not heard,/The ear of man hath not seen": Teaching Tools for Speaking Shakespeare: Peter Lichtenfels (University of California, Davis). Index